Mama's Gun

For the British band, see Mamas Gun.

Mama's Gun
Studio album by
Erykah Badu
ReleasedNovember 18, 2000
Recorded1999–2000
Studio
GenreNeo soul
Length71:50
LabelMotown
Producer
Erykah Badu chronology
Live
(1997) 		Mama's Gun
(2000) 		Worldwide Underground
(2003)
Singles from Mama's Gun
  1. "Bag Lady"
    Released: August 8, 2000
  2. "Didn't Cha Know"
    Released: November 28, 2000
  3. "Cleva"
    Released: April 17, 2001

Mama's Gun is the second studio album by American singer Erykah Badu. It was released on November 18, 2000, by Motown Records. A neo soul album, Mama's Gun incorporates elements of funk, soul, and jazz styles.[1] It has confessional lyrics by Badu, which cover themes of insecurity, personal relationships, and social issues.[2] Recorded between 1998 and 2000 at the Electric Lady Studios in New York City, the album has been viewed by critics as a female companion to neo soul artist D'Angelo's second album Voodoo (2000), which features a similar musical style and direction.[3][4][5] Critics have also noted that while Badu's first album Baduizm contained its share of cryptic lyricism, Mama's Gun is much more direct in its approach, and places the artist in a subjective position more than its predecessor.[6]

The album contains the single "Bag Lady", Badu's first top 10 Billboard hit, which was also nominated for the Grammy Award for Best Female R&B Vocal Performance and for Best R&B Song. The song "Didn't Cha Know" was also nominated for Best R&B Song. The album features substantial contributions from several members of the Soulquarians outfit, of which Badu was a member. It also features guests such as soul singer Betty Wright and trumpeter Roy Hargrove. Mama's Gun was met with generally positive reviews from critics. It was less commercially successful than Baduizm, receiving Platinum certification in the US. Rolling Stone magazine named it one of the Top 10 Albums of 2000. To further promote Mama's Gun, Badu embarked on the Mama's Gun World Tour (2001).

Background

Having been signed to Universal Records and Kedar Massenburg's Kedar Entertainment,[7] Erykah Badu released her debut studio album Baduizm on February 11, 1997.[8] Baduizm received unanimous critical acclaim,[9] with numerous critics comparing Badu's vocal performance to Billie Holiday;[10] the album went on to win the Grammy Award for Best R&B Album.[11] As the album debuted at number two on the US Billboard 200, Badu broke the record for the highest-debuting debut album by a woman.[12][13][a] The album's success helped establish Badu as one of the emerging leading artists of neo soul,[15] with author Joel McIver crediting Baduizm with introducing the term "neo soul" to mainstream audiences.[12] Shortly after the album's release, Badu became pregnant with the son of her then-partner André Benjamin, widely known as André 3000 of Outkast.[16] While promoting Baduizm, Badu recorded the live album Live, which was released on November 18, 1997—the day Badu gave birth to Seven Sirius Benjamin.[17][18] Live was another commercial success for Badu, debuting at number four on the Billboard 200.[19] Badu also pursued an acting career, starring in Blues Brothers 2000 (1998) and The Cider House Rules (1999).[13] She further appeared on The Roots' 1999 song "You Got Me"[20]—which won the Grammy Award for Best Rap Performance by a Duo or Group[11]—and recorded "Southern Gul" for hip-hop artist Rahzel's debut studio album Make the Music 2000 (1999).[21] As Massenburg resigned from his position as the senior vice president of Universal Records in favor of being appointed president and chief executive officer (CEO) of Motown in 1998, Badu transferred to Motown as well.[22][23]

Writing and recording

Mama's Gun was largely recorded at the Electric Lady Studios (pictured) in New York City.

By April 1999, Badu had begun recording Mama's Gun at her home studio in Dallas,[24] having suffered from writer's block for several months.[25][26] In May, Badu relocated to the Electric Lady Studios in New York City, which were founded by Jimi Hendrix.[24][27][28] Utilizing live instruments to achieve her desired sound, Badu initially collaborated with drummer Ahmir "Questlove" Thompson, bassist Pino Palladino, and pianist James Poyser, while contributing with her own guitar and percussion, writing spontaneously as she was recording.[28] She revealed that she would compose the songs first, before developing suitable lyrics for each one.[29] As one of the key collaborators, Questlove envisioned a "super organic, soulful, psychedelic vibe" for the record.[30] Badu recorded at Electric Lady's Studio C, which was originally Hendrix's apartment, and would be frequently receive visits from "Jimi the cat", a cat which resided at the studios and would reportedly remain inside a studio only if he approved of mixes played inside it.[28][30]

As Questlove simultaneously worked on D'Angelo's Voodoo (2000), Common's Like Water for Chocolate (2000), and Bilal's 1st Born Second (2001), the artists began arranging improvised jam sessions, and promptly formed a collective named Soulquarians. All four albums were substantially mixed by Russell Elevado, who encouraged use of analog equipment, including vintage microphones and tape recorders.[30] Badu reflected on the recording process: "[We] were just all working in that space at the same time, and we were just artists who really admired one another and made sure we locked down all the rooms so nobody else could get in there, and we created our own clubhouse spaceship. I lived there. I lived in my room there, bathed out of the sink and all that kind of stuff."[28] Common referred Badu to producer J Dilla,[25] who produced the majority of Like Water for Chocolate.[31] Badu visited J Dilla at his home in Detroit, and he told her to select a vinyl from his collection to draw inspiration from. She selected jazz-funk ensemble Tarika Blue's 1977 eponymous second and final studio album, and the pair subsequently recorded "Didn't Cha Know", employing a sample from Tarika Blue's "Dreamflower" for its background.[25] J Dilla co-produced two more tracks which would appear on Mama's Gun—"My Life" and "Kiss Me on My Neck (Hesi)"—under his pseudonym Jay Dee.[32]

Badu executive produced Mama's Gun alongside Kedar Massenburg. She wrote, composed and produced all tracks, writing the lyrics for 10 out of the album's 14 tracks unassisted.[32] Among those was "Green Eyes", which Badu wrote in the aftermath of her separation from André Benjamin, which occurred during the album's production.[27] Betty Wright co-wrote and provided additional vocals for "A.D. 2000".[32] Inspired by the killing of Amadou Diallo, Badu wrote the song from his perspective, questioning: "What would he say if he could sing a song right now?". As Badu was writing the song at the DARP Studios in Atlanta,[32][33] Wright joined her and began contributing, and the pair immediately recorded it;[33] the track was finished at Electric Lady.[32] Badu also recorded several tracks at Tuff Gong in Kingston, Jamaica; the only track from those sessions to be included on the album's final track listing was "In Love with You", a collaboration with Stephen Marley, son of Bob Marley.[33] Alongside Badu, Marley wrote the song's lyrics and music, and produced it as well.[32] Other recording locations for Mama's Gun included the Dallas Sound Lab in Irving, Texas, the Palmyra Studios in Palmer, Texas, Outkast's Stankonia Studios in Atlanta, The Studio in Philadelphia, and The Hit Factory in New York.[32] While recording at Electric Lady, Badu met Mark Ronson, who was working on Nikka Costa's Everybody Got Their Something (2001), with some of Badu's collaborators contributing to Costa's album during the sessions.[28]

While recording, Badu struggled to meet the deadline for Mama's Gun set by Motown.[30] She had not finished writing and recording the album by the time its liner notes were printed, leaving lyrics of numerous songs incomplete and urging listeners to visit her website for completed versions.[32] As she wanted all tracks to be seamlessly sequenced, she would frequently change their order.[33] The original track listing featured "Hey Sugah" as an intro, followed by "Booty" and 13 other tracks, including "Props to the Lonely People", co-written by Bilal.[34][b] At the last minute, Badu decided to revise the track order,[28] and exclude "Props to the Lonely People".[35] On initial CD pressings, only the disc bore the correct track listing, as the alterations were made too late for the liner notes to be redesigned;[36] the liner notes were corrected for international and future pressings.[37][38] Furthermore, Badu recorded an alternate form of the lead single "Bag Lady" for Mama's Gun, and refrained from including the previously released Cheeba Sac Mix on the album, writing in the liner notes that "there was simply not enough room" for it.[32] However, the Cheeba Sac Mix was added as the bonus track on Japanese pressings and the European reissue of Mama's Gun.[39][40]

Musical style

Mama's Gun is primarily a neo soul album, differentiating from Baduizm by experimenting with a broad array of genres, including jazz, funk, rock, reggae, and traditional soul.[c] Jake Barnes of Dotmusic described Mama's Gun as the counterweight to its predecessor: "Where her debut was light and jazzy, 'Mama's Gun' is heavy and grounded", emphasizing the opening track "Penitentiary Philosophy" as the prime example.[43] Built on a dense guitar and bass arrangement, "Penitentiary Philosophy" fuses 1970s funk with rock and roll.[41][43] The remainder of Mama's Gun is largely driven by a multitude of live instruments as well.[44] Tracks seamlessly transition into its successors, with each transition being demonstrated with an abrupt shift in texture, which journalist Touré called a "restless soul fantasia".[2] The airy lounge "Cleva" is driven by vibraphone played by Roy Ayers,[2][45][41] while Badu herself plays an acoustic guitar on "A.D. 2000".[2] 54-second flute, percussion and vocal interlude "Hey Sugah" precedes "Booty",[46] which utilizes tight percussion and conspicuous horns, steadily segues into the Rhodes piano and the Minimoog synthesizer-driven "Kiss Me on My Neck (Hesi)".[44] Flutes are further employed on "Orange Moon", while a classical guitar carries the reggae ballad "In Love with You".[27][47]

The sonic quality of Mama's Gun is further characterized by 1970s funk-influenced breakdowns and disjointed beats,[48] with tracks such as "Booty" drawing influences from works of James Brown and Quincy Jones.[2][27] Although the record mostly eschews programming and sample usage, tight drum loops are present on "My Life" and "Time's a Wastin'".[44] The latter's keyboard arrangement evokes sounds of a church organ during the song's bridge.[27] Meanwhile, "Penitentiary Philosophy" incorporates a looped sample of Stevie Wonder's 1976 song "Ordinary Pain", while its "laid-back" soul successor "Didn't Cha Know" is built on a sample from Tarika Blue's 1977 recording "Dreamflower";[41][2][27] neither sample is credited in the album's liner notes. "Bag Lady" contains a credited interpolation of Dr. Dre's 1999 track "Xxplosive",[32] and appears in a slower-paced, blues-influenced neo soul style,[43][2][41] substantially differing from the up-tempo Cheeba Sac Mix used for the single.[49] While the hip-hop-influenced Cheeba Sac Mix incorporates the sample of "Xxplosive" to a larger extent, the album version is built on the Isaac Hayes-written and produced 1971 track "Bumpy's Lament", which had served as the basis for "Xxplosive".[25] Mama's Gun closes with a 10-minute suite "Green Eyes", split into movements "Denial", "Acceptance?", and "The Relapse".[2] While "Denial" maintains a 1930s-influenced jazz style,[50] "Acceptance?" and "The Relapse" feature a melancholy, piano-driven soul approach.[2]

Lyrical themes

In an interview for The New York Times, Badu revealed the meaning behind the title of Mama's Gun to be a metaphor for her being protective of her son Seven: "And there's no better protection than your mama's words. That album is the gun: use those words, those feelings, to solve the problems."[51] In her poem "The Warriors Remainder", written in the album's liner notes, Badu explained the title as representing a weapon eliminating "demons in [her] range",[52][d] which Jake Barnes of Dotmusic interpreted as a remedy to pressures of her sudden fame in the aftermath of Baduizm.[43] Lyrical themes of Mama's Gun encompass love, self-worth, and social equity.[27] Astrological and cosmic references are incorporated into songs such as "...& On" and "Orange Moon".[35][27] The lyricism was widely noted as more honest and direct than the cryptic and complex songwriting on Baduizm;[2][54][55] Badu herself addresses the expressional shift in the lyrics of "...& On": "What good do your words do / If they can't understand you / Don't keep talkin' that shit / Badu".[35] Christopher John Farley of Time nonetheless emphasized the intricacy of lyrical themes on Mama's Gun, which he described as not restricted to singular interpretations.[47] Mama's Gun was further proclaimed the female counterpart to D'Angelo's Voodoo, regarding both musical style and lyricism, by numerous critics.[e]

On Mama's Gun, Badu places herself in a more subjective position than on Baduizm, with autobiographical songwriting stemming from prior experiences,[54][27] though Badu denied Baduizm being any less introspective than Mama's Gun.[59] Self-help-themed "My Life" is an homage to Mary J. Blige's 1994 album of the same title, and retrospectively expresses Badu's desire to achieve eminence.[3][27] On "...& On"—a continuation of her debut single "On & On"[50]—Badu reflects on her feelings of inferiority upon first menstruating.[44] Introspective "Cleva" sees her denouncing image in favor of intellect,[48] while accepting her own perceived shortcomings: "My hair ain't never hung down to my shoulders / And it might not grow / You never know".[2] The end of Badu's relationship with Benjamin served as the basis for "Green Eyes", which uses its three movements to deal with different stages of heartbreak.[27] On "Denial", Badu repudiates feelings of jealousy and distress, while "Acceptance?" and "The Relapse" depict confusion before transitioning into displays of anguish and embarrassment, interspersed with declarations of withstanding affection for Benjamin.[2]

"Mournful and angry" opening track "Penitentiary Philosophy" and the penultimate "Time's a Wastin'" deal with perils of street crime, in the vein of Badu's 1997 song "Otherside of the Game".[36][27] Similarly, "Didn't Cha Know" is an encouragement of seeking a righteous path in one's quest.[27] "A.D. 2000" is an elegy for Amadou Diallo, a Guinean man shot 41 times and killed by New York City Police Department officers in February 1999; the lyrics imagine him posthumously remarking: "No, you won't be namin' no buildings after me".[2] The feminist "Booty" sees Badu confront a woman whose partner had been unfaithful to her by attempting to seduce Badu, with Sal Cinquemani of Slant Magazine comparing its theme to Toni Braxton's 2000 song "He Wasn't Man Enough".[44] "Bag Lady" uses baggage as a metaphor for unresolved transgenerational trauma among women,[35][25] simultaneously deprecating materialism,[36] condemning inadequacies of institutional education regarding black women,[27] and exploring unrequited love.[25] According to Daphne A. Brooks of Pitchfork, love songs "Kiss Me on My Neck (Hesi)", "Orange Moon", and the Stephen Marley-assisted "In Love with You" are attached by the theme of freedom; "Kiss Me on My Neck (Hesi)" explores the pursuit of pleasure, while "In Love with You" details infatuation.[27] Badu explained the word "hesi" as an Egyptian affirmation, relating it to the law of attraction; in the context of "Kiss Me on My Neck (Hesi)", it refers to one's sexual desires coming to fruition.[60]

Marketing and touring

For further information on touring, see Mama's Gun World Tour.

In July 2000, Mama's Gun was announced as indefinitely postponed, having been scheduled for a September 19 release; "Bag Lady" had already begun receiving radio airplay.[61] "Bag Lady" was officially released as the album's lead single on August 8,[62] and became Badu's first top-10 hit on the US Billboard Hot 100 by peaking at number six,[63] as well as her second Hot R&B/Hip-Hop Songs number one.[64] Its accompanying music video was directed by Badu,[65] and shows her accompanied by four women—including her mother Kolleen Gipson and sister Nayrok Wright—wearing colors symbolizing chakras, with Badu's red attire representing Muladhara. The song's lyrical themes are further explored in the video as the women portrayed the characters of Ntozake Shange's 1976 work For Colored Girls Who Have Considered Suicide / When the Rainbow Is Enuf.[25] After numerous delays since 1999,[24][29] Mama's Gun was ultimately announced for November 21, 2000.[66] Prior to its worldwide release, the album was first made available in Japan on November 18, as Badu commenced the album's promotional tour in the country, simultaneously arranging live chats via BET and MSNBC's respective websites.[33] The marketing strategy for Mama's Gun also encompassed televised advertising, as well as billboard advertisements displaying the album's cover artwork.[33] The cover, photographed by Robert Maxwell,[32] shows a close-up image of Badu wearing an olive green crochet hat over her dreadlocks, dispassionately gazing into the camera while biting a toothpick.[67]

"Didn't Cha Know" was released as the second single from Mama's Gun on November 27, 2000,[68] but failed to replicate the success of its predecessor, failing to chart on the Billboard Hot 100 and instead reaching number 13 on its extension chart Bubbling Under Hot 100.[69] Its accompanying music video was also directed by Badu,[65] and depicts her aimlessly walking through the Mojave Desert.[25] The video ends with Badu arising from water beneath the sand's surface, revealing her shaved head; Jaelani Turner-Williams of Stereogum interpreted Badu eschewing her signature headwrap as an emancipation from commercial expectations.[25] On shaving her hair off, Badu commented: "I didn't give a lot of thought to it. It was just something that I knew I wanted to do right now. I wanted to do something brave, to just make room for new things."[51] Badu further partnered with HBO for a February 2001 Black History Month campaign, through which children who submitted essays on the theme of Black History Month were given free CD copies of Mama's Gun.[33] In January 2001, Badu announced the Mama's Gun World Tour, with the first North American leg starting in Cleveland on February 10, and finishing in Badu's hometown of Dallas on March 18.[65] "Cleva" was subsequently released as the third and final single from Mama's Gun on April 16.[70] Badu extended the Mama's Gun World Tour with an European leg in July, before embarking on the second North American leg the following month; the tour culminated in Boston on September 3, 2001.[71] The tour was met with acclaim from critics and audiences alike, predominantly for Badu's stage presence and vocal performance; Badu's removal of her headwrap to reveal her shaved head during the performances of "Cleva" elicited particular praise.[f]

In July 2025, Badu announced Mama's Gun '25: The Return of Automatic Slim Tour, in commemoration of the 25th anniversary of Mama's Gun. The 16-date US tour is scheduled to commence in Los Angeles on October 3, and culminate in Dallas on December 10.[77]

Critical reception

Initial response

Initial ratings for Mama's Gun
Review scores
SourceRating
Boston Herald[78]
Dotmusic[43]
Entertainment WeeklyB−[3]
The Guardian[50]
Los Angeles Times[79]
Q[80]
Rolling Stone[2]
Slant Magazine[44]
Uncut[81]
The Village VoiceA[82]

On release, Mama's Gun received widespread critical acclaim. At Metacritic, which assigns a normalized rating out of 100 based on reviews from mainstream critics, the album received an average score of 80, based on 16 reviews, indicating "generally favorable reviews".[83] Badu's songwriting elicited predominant praise; Touré of Rolling Stone commended Badu for abandoning the pretensions of Baduizm in favor of equally profound but more comprehensible lyrics,[2] while Robert Christgau concluded in The Village Voice that song structures and arrangements compliment the lyricism.[82] The A.V. Club's Keith Phipps further lauded the lyrical themes and the album's "deceptively simple arrangements, a lovely breakup suite ('Green Eyes'), and near-infinite replay value".[36] Writing for The New York Times, Jon Pareles described the album as "cool, tantalizing and utterly self-assured", classifying it among highlights of 2000.[42]

Alongside songwriting, Sal Cinquemani of Slant Magazine hailed the "fresh hybrid" of organic grooves, live instrumentation and modern production techniques of Mama's Gun.[44] PopMatters critic Wayne Franklin found the record compelling in its personal scope of Badu's psyche, calling it "a definite work of art, destined to remain in heavy rotation for some time to come".[35] Rob Brunner of Entertainment Weekly,[3] Michael Odell of The Guardian,[50] and an editor of Mojo[84] all directed praise towards Badu's nuanced and distinctive vocal performance, but were ambivalent towards the album's themes. In less laudatory reviews, Q wrote that Badu's debut had raised expectations she did not meet on Mama's Gun,[80] while Robert Hilburn of Los Angeles Times similarly concluded that Mama's Gun lacked the cohesion of its predecessor.[79] The album was proclaimed ninth best of 2000 by Rolling Stone,[85] and was included on the annual poll Pazz & Jop—at number 15 as published in The Village Voice,[86] and at number nine on Christgau's individual ranking.[87] Internationally, Mama's Gun was included on French newspaper Libération and Dutch magazine Oor's respective annual listings of best albums.[88][89] At the 43rd Annual Grammy Awards (2001), the album's lead single "Bag Lady" garnered nominations for Best Female R&B Vocal Performance and Best R&B Song, while the second single "Didn't Cha Know" received a nomination in the latter category the following ceremony.[11]

Retrospective commentary

Retrospective ratings for Mama's Gun
Aggregate scores
SourceRating
Metacritic80/100[83]
Review scores
SourceRating
AllMusic[54]
The Encyclopedia of Popular Music[90]
The Great Rock Discography[91]
Piero Scaruffi6/10[45]
Pitchfork9.4/10[27]
The Rolling Stone Album Guide[92]
Tom HullA-[93]

Critical acclaim persevered with retrospective commentaries on Mama's Gun. Like Touré, Rob Theakston of AllMusic praised Badu's departure from complex lyricism, while complimenting the album's sonic quality and production,[54] while Paul Schrodt of Slant Magazine felt surprised by the understated arrangements and honest songwriting; the latter listed the record among the best albums of the 2000s.[94] Ranking it among the best albums ever recorded, Entertainment Weekly reflected on the album acting as a "freethinking, all-weirdos-welcome basement confessional".[95] Rolling Stone similarly described it as "a wildly free, deliciously ambitious song cycle", which Badu had created "out of her own hard-won truths"; the publication placed the album at number 158 on its 2020 listing The 500 Greatest Albums of All Time.[96] The New York Times's Ben Ratliff called the album one of "the great neo-soul records of 2000", alongside Voodoo by D'Angelo.[97]

Pitchfork's Daphne A. Brooks lauded the album's themes, writing that Mama's Gun "turned an important page as [Badu] set out to pair songs that evoked the art of exquisite and romantically-charged lingering and hanging [...] alongside songs about being fed up with stasis, isolation, restriction and aborted dreams".[27] Listing it among best albums of the 2000s, Josiah Gogarty of British GQ emphasized the album's charm through "slinky, soulful" quality of tracks such as "Didn't Cha Know" and "Orange Moon".[98] Piero Scaruffi declared it inferior to Baduizm,[45] as did Martin C. Strong in The Great Rock Discography (2004),[91] and Colin Larkin in The Encyclopedia of Popular Music (2007).[90] Conversely, in The New Rolling Stone Album Guide (2004), Arion Berger and Nathan Brackett listed Mama's Gun as Badu's best work at the time, calling it "less elliptical and less thickly textured" than its predecessor.[92] The album was included in the book 1001 Albums You Must Hear Before You Die, edited by Robert Dimery.[99] In 2008, Tom Moon included it in his book 1,000 Recordings to Hear Before You Die,[100] while Entertainment Weekly listed it among the best albums released within previous 25 years.[101] In 2009, German publication Sounds by Rolling Stone included Mama's Gun in its issue dedicated to "masterpieces" from each decade, spanning from the 1960s until the 2000s.[102] The album was also included on consumer-selected polls "The 150 Greatest Albums Made by Women", published by NPR in 2018,[103] and "The 200 Best Albums of the Last 25 Years", published via Pitchfork in 2021.[104]

Commercial performance

In the US, Mama's Gun debuted at number 11 on the Billboard 200 chart dated December 9, 2000. Released during the highly competitive Thanksgiving week,[105] it became Badu's first release not to reach the top 10 on the chart.[19] It simultaneously debuted at number three on the Top R&B/Hip-Hop Albums, becoming Badu's third consecutive top-three entry, but also the first one not to peak atop the chart.[106] However, the album's first-week sales of 191,000 units registered the largest of Badu's career.[105] In its second week, the album descended to number 22 on the Billboard 200,[107] and would go on to spend a total of 25 weeks on the chart.[19] Four weeks after its release, Mama's Gun was certified platinum by the Recording Industry Association of America (RIAA), denoting shipments of one million units in the US.[108] In a 2001 interview, Badu reflected on the album's commercial performance: "it has sold 1.4 million in the US. So no, it didn't sell as much [as Baduizm and Live] [...] although creatively I feel like this is a better piece of work."[109] Initially disappointed, she felt encouraged by the response from attendees at her concerts during the Mama's Gun World Tour, concluding that "it was confirmation that the work is not always for commercial success. It's also for spiritual upliftment."[109]

Mama's Gun debuted and peaked at number 30 on the Canadian Albums Chart,[110] and was certified gold by then-Canadian Recording Industry Association (CRIA) in January 2001, for shipments of 50,000 units in Canada.[111] Across Europe, the album was a sleeper hit. It reached the top 10 in Finland and the Netherlands in August 2001, months after debuting at lower positions,[112][113] following its special-edition reissue and the European leg of Mama's Gun World Tour.[114][71] In the UK, the album debuted at number 76 on the UK Albums Chart, and exited from the chart two weeks later,[115] simultaneously peaking at number 11 on the UK R&B Albums Chart.[116] In 2021, Mama's Gun was certified gold by the British Phonographic Industry (BPI) for combined sales and album-equivalent units of 100,000 in the UK.[117] In Japan, the album peaked at number 24 on the Oricon Albums Chart,[118] and was certified gold by the Recording Industry Association of Japan (RIAJ) in January 2001, for shipments of 100,000 units in the country.[119]

Track listing

All lyrics are written by Erykah Badu, except where noted.

Mama's Gun
No.TitleLyricsMusicProducer(s)Length
1."Penitentiary Philosophy" 
  • Badu
  • Poyser
  • Thompson[a]
  • Palladino[a]
6:09
2."Didn't Cha Know" Badu
3:58
3."My Life"
  • Badu
  • Robert Bradford
  • Badu
  • Poyser
  • Badu
  • Poyser
  • Jay Dee[a]
3:59
4."...& On" 
  • Jah Born
  • Badu
3:34
5."Cleva" 
  • Badu
  • Poyser
  • Badu
  • Poyser
3:45
6."Hey Sugah"
  • Badu
  • N'dambi
Badu0:54
7."Booty" Badu
4:04
8."Kiss Me on My Neck (Hesi)" 
5:34
9."A.D. 2000"
  • Badu
  • Wright
4:51
10."Orange Moon" 
Badu7:10
11."In Love with You" (featuring Stephen Marley)
  • Marley
  • Badu
  • Marley
  • Badu
  • Badu
  • Marley
5:21
12."Bag Lady" 
Badu5:48
13."Time's a Wastin'" 
  • Badu
  • Martin
6:42
14."Green Eyes" 
  • Badu
  • Poyser
  • Duplaix
10:04
Total length:71:50
Mama's Gun – Japanese edition and European reissue (bonus track)[39][40]
No.TitleProducer(s)Length
15."Bag Lady" (Cheeba Sac Radio Edit)
  • Badu
  • Tone the Backbone[a]
4:11
Mama's Gun – Belgian and Dutch special edition (bonus disc)[120]
No.TitleWriter(s)Producers(s)Length
1."Tyrone" (live)
  • Badu
  • Norman Hurt
 3:55
2."Hollywood"
Badu5:35
3."Drama"
  • Badu
  • Tyallen Macklin
  • Badu
  • Bob Power
6:04
4."Your Precious Love" (featuring D'Angelo)
4:40
5."Bag Lady" (Basement Boys Afrocentric Mix)
  • Badu
  • Martin
  • Hayes
  • Young
  • Bailey
  • Longmiles
  • Brown
  • Hale
8:22
6."Bag Lady" (music video)  4:08
7."Didn't Cha Know" (music video)  4:03

Notes

  • ^[a] signifies a co-producer
  • ^[b] signifies an additional producer

Personnel

Credits are adapted from the liner notes of Mama's Gun.[32]

Musicians

Horns arranged by Roy Hargrove:

  • Flute – D'Wayne Kerr (6, 8, 10, 12, 14)
  • Saxophone – Jacques Swarzbart (7, 14)
  • Trumpet – Roy Hargrove (7, 14)
  • Trombone – Frank Lacy (7, 14)

Strings on tracks 3 and 13, arranged by Larry Gold:

  • Violins: Charlie Parker Jr., Emma Kummrow, Gregory Teperman, Igor Szwec, Olgo Konopelsky, Charles Kwas (13 only)
  • Violas: Davis Barnet, Peter Nocella
  • Cello: Larry Gold (13 only)

Production

  • Executive producers: Erykah Badu, Kedar Massenburg
  • Recording engineers: Tom Soares (1–5, 8–20, 14), Chris Bell (4, 6, 7, 12), Russell Elevado (1, 7, 8), Leslie Brathwaite (2, 3, 5, 10), Vernon J. Mungo (2, 8, 10), Jon Smeltz and Mark Goodchild (3, 13), Errol Brown (11)
  • Mixing Engineers: Tom Soares (4, 6, 9, 11), Russell Elevado (1, 7, 8, 12, 14), Leslie Brathwaite (2, 3, 5, 10, 13)
  • Assistant engineers: Jon Adler (1, 3, 5, 9, 10, 14), Steve Mandel (1, 5, 7, 8, 12, 14), Shinobu Mitsuoka (2–5, 8, 9, 11), Mike Turner (3, 8, 9, 13), Michael Verdes (4, 6, 7, 12), Vincent Alexander (5, 10, 13), Mitch Getz and William Jackson (2), Krystof Zizka (3), Jason Dale (4), Brian Geten and Paul Gregory (6), Rob Smith (10)
  • Erik Steiner – Pro-Tools (3, 4)
  • Mastering: Chris Gehringer, Tom Coyne
  • Vernon Mungo – production facilitator
  • Erykah Badu and Michael Whitfield – art direction
  • Simone/Whitfield – design
  • Robert Maxwell – cover art
  • Don Thompson – photography
  • Kierstan Tucker – A&R
  • Kelly Abraham – marketing

Charts

Certifications

Certifications and sales for Mama's Gun
Region Certification Certified units/sales
Canada (Music Canada)[111] Gold 50,000^
Denmark (IFPI Danmark)[136] Platinum 20,000‡
Japan (RIAJ)[119] Gold 100,000^
Netherlands (NVPI)[137] Gold 40,000^
United Kingdom (BPI)[117] Gold 100,000‡
United States (RIAA)[108] Platinum 1,000,000^

^ Shipments figures based on certification alone.
‡ Sales+streaming figures based on certification alone.

Release history

Release dates and formats for Mama's Gun
Region Date Edition(s) Format(s) Label(s) Ref.
Japan November 18, 2000 Standard CD Universal Music
[118]
United Kingdom November 20, 2000 Motown
[138]
United States November 21, 2000
[33]
Germany November 27, 2000 CD Universal Music
[139]
March 12, 2001 Reissue
[140]
Belgium July 9, 2001 Special CD + enhanced CD
[114]
Netherlands
Australia July 8, 2014 Standard Vinyl
[141]
Germany July 18, 2014
[142]
France July 28, 2014
[143]

References

Notes

  1. ^ The record would be broken by Lauryn Hill in 1998, when her debut studio album The Miseducation of Lauryn Hill debuted atop the Billboard 200.[14]
  2. ^ According to the initial pressing liner notes, Bilal also performed beatboxing and played Rhodes piano on "Props to the Lonely People".[34] As of 2025, the song remains unreleased.
  3. ^ attributed to multiple sources[41][27][42][3][33]
  4. ^ "Taking out the demons in your range" is also a line from "Time's a Wastin'".[53]
  5. ^ attributed to multiple sources[3][5][27][56][57][55][58]
  6. ^ attributed to multiple sources[72][73][74][75][76]

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Bibliography

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